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Famous Sony footnotes kicks again: Sync speed with "External" flash is 1/500. With base ISO of 250, its the same as 1/200 with ISO 100.

Almost all major prosumer Sony cameras overheat I guess. Maybe the ones where the node size is too large, that lacks a heatsinks, or fan or some other issues. Sony doesn't care for overheating. This one shoots 120fps at 24MP, but for only 1.5-1.6 seconds or something. Guess that means that their RAM isn't really huge. Also, it could probably be used to cook in the winters during shoots 😁

Exciting! Been waiting for a global shutter hybrid for years. Would love to have no rolling shutter and an unlimited flash sync speed. Now I just have to wait about five more years until it's available at a price point I can afford, and from Panasonic 😄

The quality of posts in this thread is not necessarily equivalent to the quatity. Dropping youtube videos without any lovely written expression of soul, heart or mind is kinda wordless and to me worthless for a forum. But maybe that is just because of the shiny new product. Older tech ist dicussed with much more love and passion.

I believe this commercial was shot on one of these cameras.

As the world's first dual-lens action camera, the SJ20 Dual Lens comes with a powerful night-specific lens. Thanks to its large F1.3 aperture, the amount of light intake is more than twice that of other sports cameras currently available! You can switch to the night lens with just a flick of a button and record your masterful scripts in dimly lit scenes!

Definitely not the first "dual lens" action camera - the Insta360 One R with the 360 module would technically have "dual lenses" and I wouldn't doubt that there are others that I am not thinking of. But otherwise, good luck with your spam!

@kye I used your hue adjustment technique as a starting point. I think that improved it a lot, no more pink/magenta from the Sony. Might have went too far though. I still have hope for the FX3 as an A cam. 😅

https://www.eoshd.com/news/thoughts-on-the-sony-a9-iii-first-global-shutter-mirrorless-camera/ Here's my take on it. I love it, great camera... But... a1 is cheaper used, and does 8K at 500Mbit/s 422 The global shutter is capable of 6K at 120fps, but Sony didn't implement any 6K modes, no open gate, or anamorphic, and no Cinema 24p in the image processor. I have heard the image processor is not capable of oversampling at 120fps from 6K-> 4K so the 4K/120fps is likely pixel binned from the 6K. I believe the 4K/59.94/29.97/23.98 are oversampled from that full 6K output. I like the new grip, looks more comfortable and is to be honest more stylish as well. Can't really see a use for 120fps stills shooting, it's not a scientific camera.... although it could be used as one!!

Some of the features not mentioned during the press release but appeared in Chinese marketing material: Multi-frame RAW noise-reduction (Combining up to 32 RAW burst stills for one noise-free RAW still) Custom LUT import for video Lens breathing compensation in video mode It's expected to ship in China around end of January 2024. Early testers commented on the dynamic range to have taken a "slight but noticeable" hit due to global shutter design, hence the limited native ISO range of 250 to 25600.

Seems like my temptation to buy any Luts is still lower than my urge to save money, even moreso after your message is rather calming any desire to purchase anything for even the most little amount of pennies. 😂 @TomTheDP

Making a CPU with state of the art node doesn't make a PR fenzy, "World's first" in sensor tech, does. They really really want to show they're leader in sensor tech, all else is secondary.

The current CPU used since A7RV is quite hot (literally), look at overheating E1/A6700/A7CII.. It definitely need to wait for the next gen cpu to catchup in terms of performance and thermal issue. But A1 and A7SIII finally getting firmware update, SIII finally get 24p and breathing compensation.

You have to go further then simply exposing the cameras the same and having them set to the same WB. For example having say the Alexa set to 5600k and the FX30 the same in a daytime situation will yield very different results.

I have the Sigma on my X-S20. Amazing little thing, almost never used other lens after getting it. Should be the template for newer m43 zooms - if Sigma could do a 18-50 F/2.8 covering APS_C with this size, a small 12-35 f/2 or even f/1.8 is doable.

Yep, and a small and fast zoom lens (yes, it extends when powered on, but to carry is much smaller. And being a zoom, for me, is a big differentiator compared to the X100 and GR. Much more versatile, and for the target groups, don't having to worry to change lenses is a huge selling point. Never used a MK II - have the MK I, and it have a huge problem: the worst JPEG engine that I've ever saw in m4/3. Beside the usual green cast of the GH4 generation, it is mushy as hell. But the RAWs without problems, same as every m43 camera; but having to post-process takes a lot of the charm. From waht I've heard, the MK II have the same JPEG pipeline of the OG G9 - hence the better Panasonic color science of that time. Having a touchscreen mitigates a bit the absence of a af joystick - I used it a lot in the GX85 and GX9, a joystick is better, but lcd touchpad is close.

Camera Conspiracies will address that in new video.

Hey, would rather recommend to upload it to youtube or vimeo. People might be hesitant to download from a private website.:) Also, screenshots sometimes awake interest. cheers GH3 should grade wonderfully with its 50mbit codec. I enjoyed grading G6 and G7 footage. 709 8bit classics.:)

Oh

Apples to oranges.

Actually, the XH2S and P4K are great options when combined with the LUTs/powergrades from Juan Melara: https://juanmelara.com.au/products/bmpcc-4k-to-alexa-powergrade-and-luts https://juanmelara.com.au/products/x-h2sfuji-to-alexa-powergrade-and-luts Juan is a working DP and colourist, and is one of the most knowledgeable colourists online, especially when it comes to matching complex transformations. I've bought from him before and had good experiences. The A/B results speak for themselves too. Here's the Fuji A/B shots, and the P4K ones match even better.

I just bought a Scarlet-X that I am looking forward to working with. So that's my answer to the question posed in this thread. I already had lenses, batteries, and a monitor, so I purchased: Scarlet-X brain with mini mag side module with dual fan replacement 2.0 (important!) 2x 480GB mini mags Side grip Red Pro top cheese plate Red aluminum EF mount V-mount battery solution (pretty difficult to find at a workable price!) Nitze top handle and monitor mount All in all, it set me back just under $3K. I did a lot of research on the other legacy Red cameras before making this purchase. The Epic-X brains seem prone to failure. The Dragon-upgraded Epics and Scarlets have three OLPFs to choose from: Low Light (which is basically the same as the OLPF in front of the MX sensors and offers clean shadows but more limited highlights), Skintone/Highlight (nice highlight capture but noisy shadows above ISO 200), and the "Standard" OLPF which seems to fall somewhere in between the two extremes. Ultimately, I decided that clean shadows were more important to me than extra highlight range so I opted for the older MX sensor/OLPF. Regarding crop, the more budget-friendly Scarlet-Xs are in the same boat as the Raven. The max resolution (disregarding the 12fps at 5K) on the Scarlet-X has a 1.14x crop when compared to 3perf Super35 film while he Raven has a 1.12x crop but is limited to a wider aspect ratio at that resolution. So they are pretty close in this regard. One thing to consider is that the Raven requires the ~$1K IO module if you want to plug a non-Red monitor into it, while the Scarlet comes with both SDI and HDMI ports standard. This pushed me over the edge and I decided to go with the older camera. I did some side by side shots of the Scarlet-X with my Red One MX and have to say that I slightly prefer the image from the older camera (which is softer, cooler, and less contrasty). My original plan was to sell the R1MX, but now I'm having second thoughts.

haha, yeah, put the Panasonic BS1H inside a Tilta camera cage, slap on a few RED stickers, and use it with the RED branded lenses (nobody will guess it isn't "a RED"! haha): I have been very often tempted to get the RED 17-50mm or 18-50mm Cine Zoom. Or even the utterly insane RED 18-85mm lens!! It is a beast. Well, for me to use it. As I'm not used to that. But I work every week with camera ops using lenses such the Canon 17-120mm T2.95 and the Canon 25-250mm T2.95 Servo PL Lenses: https://www.bhphotovideo.com/c/product/1633520-REG/canon_4573c011_cine_servo_25_250mm_t2_95_pl.html https://www.bhphotovideo.com/c/product/1043631-REG/canon_9785b002_cn7x17_kas_s_cine_servo.html But more seriously, did you know you can get a RED Scarlet brain for just a grand and a half on eBay? (sadly just the MX sensor though, but for another US$500ish to a grand more, you could pick up a RED Scarlet Dragon. Or the RED Raven brain can be found for roughly sub US$2K, it is a Dragon sensor within the newer DSMC2 system. But with the RED Raven you're stuck with EF mount only, and it's sensor is unfortunately a little smaller than S35) Maybe slightly over $2K-ish for a more complete RED Scarlet package that you just need to add lenses and V Mounts to. Perhaps I should have added one more option to this: RED Scarlet MX camera for US$2K (or RED Raven). Is a little more expensive than going with a Pocket 4K or Micro Studio G2 setup, but a fair bit cheaper than a BMD URSA Mini Pro and a lot cheaper than an ARRI ALEXA Classic. Yet this camera body will be a lot more portable than either! (for gimbals / steadicams / car rigs / ceiling rigs / cranes / jibs / sliders / etc) Of course in "the real world" a RED camera is fairly worthless, especially one as old as this. But in the no budget indie / student filmmaking world, a lot of them still drool over the "RED" name.

Hi there, interested in possibly purchasing an older GH camera to mess around with video and color grading for that "film" look. Found this video shot on the GH3 with 20mm 1.7 9 years ago by Thomas Rault. I used Resolve and Cineprint16 film emulator and I like the look. I do think it's a bit dark and the indoor scenes have too much color.http://dreamplayhouse.com/gh3/gh3grade.mov